【正文】 細(xì)致的差別的那些特征稱作風(fēng)格，有時(shí)候我們又把整整一個(gè)大時(shí)代或者幾個(gè)世紀(jì)的特點(diǎn)稱作風(fēng)格“。 室內(nèi)設(shè)計(jì)的風(fēng)格 在體現(xiàn)藝術(shù)特色和創(chuàng)作個(gè)性的同時(shí)，相對(duì)地說，可 以認(rèn)為風(fēng)格跨越的時(shí)間要長(zhǎng)一些，包含的地域會(huì)廣一些。 一、傳統(tǒng)風(fēng)格 傳統(tǒng)風(fēng)格的室內(nèi)設(shè)計(jì)，是在室內(nèi)布置、線形、色調(diào)以及家具、陳設(shè)的造型等方面，吸取傳統(tǒng)裝飾“形”“神”的特征。又如西方傳統(tǒng)風(fēng)格中仿羅馬風(fēng)、哥特式、文藝復(fù)興式、巴洛克、洛可可、古典主義等，其中如仿歐洲英國(guó)維多利亞或法國(guó)路易式的室內(nèi)裝潢和家具款式。傳統(tǒng)風(fēng)格常給人們以歷史延續(xù)和地域文脈的感受，它使室內(nèi)環(huán)境突出了民族文化淵源的形象特征。鮑豪斯學(xué)派重視實(shí)際的工藝制作操作，強(qiáng)調(diào)設(shè)計(jì)與工業(yè)生產(chǎn)的聯(lián)系?！敖ㄖ]有終極， 只有不斷 的變革”。當(dāng)時(shí)杰出的代表人物還有 Le?柯布西耶和密斯?凡?德?羅等。 三、后現(xiàn)代風(fēng)格 后現(xiàn)代主義一詞最早出現(xiàn)在西班牙作家德?奧尼斯 1934 年的《西班牙與西班牙語(yǔ)類詩(shī)選》一書中，用來描述現(xiàn)代主義內(nèi)部發(fā)生的逆動(dòng)，特別有一種現(xiàn)代主義純理性的逆反心理，即為后現(xiàn)代風(fēng)格。受 60 年 代興起的大眾藝術(shù)的影響，后現(xiàn)代風(fēng)格是對(duì)現(xiàn)代風(fēng)格中純理性主義傾向的批判，后現(xiàn)代風(fēng)格強(qiáng)調(diào)建筑及室內(nèi)裝潢應(yīng)具有歷史的延續(xù)性，但又不拘泥于傳統(tǒng)的邏輯思維方式，探索創(chuàng)新造型手法，講究人情味，常在室內(nèi)設(shè)置夸張、變形的柱式和斷裂的拱券，或把古典構(gòu)件的抽象形式以新的手法組合在一起，即采用非傳統(tǒng)的混合、疊加、錯(cuò)位、裂變等手法和象征、隱喻等手段，以期創(chuàng)造一種溶感性與理性、集傳統(tǒng)與現(xiàn)代、揉大眾與行家于一體的即“亦此亦彼”的建筑形象與室內(nèi)環(huán)境。后現(xiàn)代風(fēng) 格的代表人物有 P?約翰遜、R?文丘里、 M?格雷夫斯等。此外，由于其宗旨和手法的類同，也可把田園風(fēng)格歸入自然風(fēng)格一類。巧于設(shè)置室內(nèi)綠化，創(chuàng)造自然、簡(jiǎn)樸、高雅的氛圍。 五、混合型風(fēng)格 近年來，建筑設(shè)計(jì)和室內(nèi)設(shè)計(jì)在總體上呈現(xiàn)多元化，兼容并蓄的狀況?；旌闲惋L(fēng)格雖然在設(shè)計(jì)中 不拘一格，運(yùn)用多種體例，但設(shè)計(jì)中仍然是匠心獨(dú)具，深入推敲形體、色彩、材質(zhì)等方面的總體構(gòu)圖和視覺效果。sometimeswiththecorrespondingperiodofthepainting,plasticarts,andevenliterature, musicandotherstylesandgenresclosely。fromthisdeeper connotation,itdoesnotremainatorequaltoaform. Needtoemphasizeis,astyleenreonceformed,itcanpositivelyornegativelyshiftedtoculture,artandmanyothersocialfactors,notonlyconfinedasaformofmanifestationandvisualsense. 203039。sinteriorcaissonceiling,hangingdown,fortheconstructionand decoration,Ming,dlikethetraditionalwesternstyleinimitationofRomewind,Gothic,Renaissance,Baroque,Rococo,neoclassical,whereinsuchimitationEuropeEnglandFranceorVitoriaLouisinteriorandfurnituredesign.Inaddition,therearetraditionalJapanesestyle,traditionalstyleofIndia,traditionalIslamicstyle,NorthCastlestyleetc..Traditionalstyleoftengivepeoplewithhistoryandcontextoftheregion,itmakestheindoorenvironmenthighlightsthenationalculturaloriginofimagefeatures. Two,modernstyle Modernstyleoriginatedin1919theestablishmentoftheBobMoorhouseschool,theschoolisinthehistoricalbackgroundofthetime,emphasizetobreaktheoldtradition,thecreationofnewconstruction,emphasisonfunctionandspatialanization,payattentiontodevelopthestructureitselfintheformofbeautiful,modellingconcise,againstunnecessarydecoration,advocatingrationalpositionprocess,respectforthematerialproperties,payattentiontotheirownmaterialthetextureandcolorconfigurationeffect,developmentofunconventionaltofunctionallayoutbasedonasymmetricposition ssoperation,emphasizethedesignandindustrialproductionlink. BobMoorhouse,thefounderoftheschoolofWGropiusonmodern architecturalviewisverybright,hebelievedthattheconceptofbeautywiththeideasandtechnicalprogressandchange.Buildingnoultimate, Theonlyconstantchange.Inbuildingperformancecannotbeobliteratedmodernbuildingtechnology,architecturalexpressiontotheapplicationofhithertounknownimage.Theoutstandingrepresentative,thegeneralizedmodernstylecanalsorefertosimplemodelingnovel,withthecontemporaryarchitectureandinteriorenvironment. Inthree,afterthemodernstyle ThetermpostmodernappearsmostearlyintheSpanishwriterdeAunis1934SpainandSpanishclassesselectedpoemsinonebook,usedtodescribethemodernplaceinsidetheinversedynamic,particularlyamodernistpurerationalpsychology,nitedStatesinthesocalledmodernismfadingconditions,andhasgraduallyformedthe 39。shightech,thehighpaceofsociallife,sothatpeoplecanobtainphysicalandmentalbalance,sotheindoormultipurposewood,fabric,stoneandothernaturalmaterials,displaymaterials,texture,becauseofitspurposeandmethodsissimilar,canalsobeputintoaclassofpastoralstyle,nceofleisure,fortable,naturalpastorallife,oftenalsoshippedwithnaturalwood,stone,rattan,bambooandothermaterialsandsimp,tocreatenatural,simple,elegantatmosphere. Inaddition,thereisalsothe70timeagainstfollowthesamepattern internationalstylesuchasthebrickwalltiletopBritishhillingtonciviccenterandtheYaleUniversityfacultyclub,indooruseofwoodandbrickwalls,wateroftraditionallocalwindowshapeandsloperoofandsocallednativestyleorlocalstyle,alsoknownasgreypie. Infive,themixedstyle Inrecentyears,architecturaldesignandinteriordesigningeneralpresentsdiversity,youtalsohasbothtendtomodernpractical,andlearnedthetraditionalcharacteristics,inthe decorationanddisplayofancientandmodernChineseandwesternintegratedsolution,suchasthetraditionalscreen,decorationandateatable,withthemodernstyleofwallsanddoorsandwindowsdecoration,newsof